


Voltron: Legendary Defender: Christmas Special Spin-off Series

by amoralgoose



Category: Voltron: Legendary Defender
Genre: Canon Compliant, Christmas, Drinking, Flashbacks, Fluff, Light Angst, M/M, Moving On, Reconciliation, Screenplay/Script Format, Unrequited Love, Work In Progress, but in my defense i started writing this near christmas two years ago and just now continued it, endgame jeith, lots of tequila in particular, reuploaded, yes i know it's not christmas yet
Language: English
Status: In-Progress
Published: 2020-09-10
Updated: 2020-09-10
Packaged: 2021-03-06 17:07:31
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 518
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/26392381
Author URL: https://archiveofourown.org/users/amoralgoose/pseuds/amoralgoose
Summary: Keith returned to Earth for the holidays after two years working as the Director of the Blades of Marmora's humanitarian efforts. This turns out to probably be a bad idea.After all, the hurdles of interstellar travel aren't the only thing keeping him from visiting Earth.--Something I began near Christmas two years ago and just now picked up. The low word count is because the actual script is in a PDF Document. I formatted this fic as a screenplay and tried my best to mimic a professional script because I think it's fun to read it and imagine: what if? What if they actually made a spin-off fanservice series like this?
Relationships: Curtis/Shiro (Voltron), James Griffin/Keith (Voltron), Minor or Background Relationship(s), Unrequited Keith/Shiro (Voltron)
Kudos: 6





	Voltron: Legendary Defender: Christmas Special Spin-off Series

**Author's Note:**

> No, it wasn't a fever dream. Yes, it was reuploaded. Yes, someone (me) spent their time writing a fake voltron spin off script. No, it is not complete at all. Expect four-ish more episodes, but it really depends on how loyal I am to the three-act story structure; Set up-Confrontation-Resolution, and all that.
> 
> The change? I added nine whole pages, fixed some continuity errors, made the dialogue and emotional progression make more sense. James is way more of a simp now. Drunk Keith talks a whole lot and that takes up a big chunk of the nine added pages, but he also has a lot to say.
> 
> This is Very Much Incomplete and is only up to Episode One. There's no guarantee of me ever uploading soon. But... if you want to peer pressure me into finishing, you can yell at me on tumblr [@faceitimanasshole](https://www.tumblr.com/blog/view/faceitimanasshole) or twitter [@amoralgoose](http://twitter.com/amoralgoose)

[EPISODE 1 SCRIPT ](https://drive.google.com/file/d/1apzJQzx6oWQTBf3Tno5xVaU6_3megAPx/view?usp=sharing)

[THE FOLDER WITH ALL THE EPISODES (UPDATING)](https://drive.google.com/drive/folders/1TVgwD0YJt4FPS60JpriI5bCV1PER3ISt?usp=sharing)

* * *

**Some clarifications, should you need them:**

White Revision: When a screenplay or a TV script is being produced, it often goes through up to ten (or even more) revisions. To differentiate each revision, the scripts are printed on different colors of paper and are labeled accordingly. The first revision is typically printed on white paper, which is why it's called the "White Revision". 

About Formatting:

\- In **CAPITALIZED BOLD LETTERS** are scene headings, which briefly describes the scene's settings

\- When something is COMPLETELY CAPITALIZED, it's either a. A shot description, b. A sound, or c. Important information

\- Other important information pieces or stresses in a dialogue will either be _italicized_ ,  underlined  ,  _both_ , or even  CAPITALIZED AND UNDERLINED .

\- Sometimes, important information will also be underlined **and/or bolded**.

About Scene headings: 

\- INT.: Interior. This refers to a scene shot inside of a location or indoors

\- EXT.: Exterior. This refers to a scene shot outside of a location or outdoors

\- INT./EXT.: THis refers to a scene comprised of shots both inside and outside of a location 

\- INTERCUT: The scene cuts back and forth from one location to another, during the same time frame, you'd most commonly see these scenes portraying phone calls or texting

About Shots:

\- Establishing shot: This shot sets up the context or setting of the scene

\- Camera panning/Pan to: The frame moves horizontally from one side to another

\- Two shot: A shot presenting two characters in the same frame

\- Close up: A shot whose majority of its frame is a character's face

\- Up shot: This shot looks at the character from below their eye level; or: we're looking at the character from below them

\- Over the shoulder shot: This shot is taken of a character from behind the shoulder of another character

\- Camera jibs: The camera moves vertically

\- Down shot: Opposite to a down shot. This shot looks at the character from above their eye level; or: we're looking at the character from above them

\- KEITH D.S. is an abbreviation for "Keith Down Shot"

\- 3/4 shot: Also the Medium shot. This shot shows the character from the knees up, literally 3/4 of their body

\- POV shot: We're looking through the character's point of view

About Dialogue :

\- When there is a "(CONT'D)" next to a character's name, it's either a. The character is speaking while an action is being completed, or b. The dialogue is interrupted by the page length. (TV scripts are usually printed out for readings and this helps actors know that their lines are still continuing)

\- Similarly, the "(MORE)" under a dialogue also helps to indicate the above "b" scenario

\- Dual dialogue: Whenever two character names and dialogues are placed on the same lines, these dialogues will overlap. It looks like this:

CHARACTER CHARACTER

Dialogue Dialogue 

\- CHARACTER NAME (O.S.): This character is speaking off-screen

\- CHARACTER NAME (PRE-LAP): This character's dialogue is beginning before we cut to the scene containing them

\- CHARACTER NAME (V.O.): This character’s dialogue is spoken as a voice over. Usually used for narration or phone calls.


End file.
